The Family of Artists
(13 Sep 1797 - 7 Dec 1830)
Stannard was born in Norwich, England, and became, for a short time, a pupil of Robert Ladbrooke, (brother-in-law to Crome). One of his paintings was exhibited at the Norwich Society of Artists as early as 1811, and there was a positive review of his work in a local newspaper, The Norwich Mercury, in August 1818. He made connections with Norwich's Theatre Royale 1819-1820, and his youthful work included a Scene in a Norwich Ale-house, depicting several well-known colourful characters who lived in the city.
In 1819, Stannard exhibited in London and in 1821, he visited Holland. The following year he exhibited "The Ferry", from a celebrated Picture of Berchem in the Musee des Tableaux, Amsterdam. This visit to the Netherlands contributed to a new oil technique and deepened his interest in marine subjects.
Between 1820-1829, Stannard exhibited work at the Royal Academy and British Institution, but by 1823, he was in a severe financial crisis, temporarily alleviated by the patronage of the Norwich manufacturer and entrepreneur John Harvey who commissioned Stannard to paint his masterwork, "Thorpe Water Frolic, Afternoon."
First exhibited in 1825, "Thorpe Water Frolic, Afternoon" is a large oil-on-canvas work which depicts a civic regatta attended by almost 20,000 spectators (at a time when the population of Norwich was approximately 50,000). "The Frolic" was organised by John Harvey who aspired to promote Norwich as an international port.
In 1826, Stannard married fellow artist Emily Coppin (1803-1885). In 1827, a collection of his etchings were published in a volume, entitled Norfolk Etchings.
Stannard contracted Tuberculosis and suffered from poor health for much of his later life. Friends and relatives rallied to support him to recuperate at the sea-side resort of Yarmouth where he painted "Yarmouth Beach and Jetty." Joseph Stannard died from tuberculosis in 1830, aged just 33.
Joseph Stannard was an excellent oarsman and a skilled ice-skater. His portraits were painted by William Beechey, George Clint and Robert Ladbrooke. A memorial stone to Joseph Stannard and his wife, Emily can be viewed at the Church of St. John, Maddermarket, Norwich.
Stannard's wife, Emily Coppin Stannard, was a notable painter of fruit, flowers and still-life, receiving three gold medals from the Society of Arts. His daughter, Emily Stannard was also an artist, as was his brother, Alfred Stannard (1806-1889), and niece, Eloise Harriet Stannard (1829–1915), a still-life painter.
(1797 - 1830)
Painter, was born at Norwich on 13 Sept. 1797. He was for a short time a pupil of Robert Ladbrooke [q. v.], and became an eminent member of the Norwich school. He painted chiefly river and coast scenes and shipping with much of the feeling of the Dutch artists, whose works he studied and copied during a visit to Holland in 1821. Stannard first exhibited with the Norwich Society in 1811, and he was one of the members who seceded from it in 1816; he contributed to the Royal Academy and British Institution between 1820 and 1829. His best known picture is the ' Water Frolic at Thorpe,' now in the Norwich Castle museum. He practised etching, and published a set of plates of Norfolk scenery. He had always delicate health, and died at Norwich on 7 Dec. 1830. A portrait of him, painted by George Clint,is in the Norwich Museum, and another, by Sir W. Beechey, belongs to Mr. J. J. Colman. Stannard married Emily Coppin, an excellent painter of fruit, flowers, and still-life, for works of which class she received three gold medals from the Society of Arts; she died at Norwich on 6 Jan. 1885, at the age of eighty-two.
[Redgrave's Dictionary of Artists; Catalogue of the Norwich Castle Museum; Wodderspoon's John Crome and his Works; Norfolk Chronicle, 1830 and 1885; Dictionary of National Biography, 1885-1900, Volume 54., by Freeman Marius O'Donoghue.]
View painter's work: Joseph Stannard (1797-1830)
Emily Stannard, née Coppin
(1803 - 6 January 1885)
Studied painting under her father, Daniel Coppin (c.1770-1822), a local Norwich School patron and amateur artist, friend of artist John Crome (1768-1821), and both were founding members of the Norwich Society of Artists. She specialised in flower painting, visiting the Netherlands in 1820, where she was considerably inspired by Dutch still-lives, notably the work of Jan van Huysum. She was awarded three gold medals by the Society of Arts, London: one in 1820, for an original painting of flowers; one in 1821, for an original painting of fruit; and a third in 1828, for an original painting of game. She also exhibited at the Royal Society of British Artists (1824), and the British Institute (1823-1825). Emily married the Norwich School artist Joseph Stannard (1797-1830) in 1826, but following his premature death of tuberculosis, she maintained her living as a teacher.Her daughter Emily (1827-1894), became a painter and assisted her mother in teaching.
View painter's work: Emily Coppin Stannard (1803-6 Jan 1885)
(1827 - 1894)
Daughter of Norwich artists, Joseph Stannard (1797-1830), and Emily Coppin (1803-1885), and grand-daughter of artist Daniel Coppin (1771-1822), She received training from her mother, Emily. She assisted her mother in her art teaching. Emily did not appear to exhibit outside Norwich, where she lived most of her life.
(1806 - 1889)
Younger brother of Joseph, was born in St.Andrew's Norwich (1806-1889), became a pupil of his brother. He painted landscapes in the style characteristic of the Norwich school. In 1827 he married Martha Sparkes, who was also a painter. The had four children, most dying before maturity. He earned a living by receiving commissions; for the rest of his life he worked as a teacher. He exhibited in London at the Society of British Artists (1825-1843), and the British Institute (1826-1860), as well as exhibitions in Norwich. A ‘River Scene with Mill’ by him is in the Norwich Museum.
Younger brother of Joseph, painted landscapes in the style characteristic of the Norwich school. A ' River Scene with Mill' by him is in the Norwich Museum. He died in 1889. He had a son, Alfred George, who painted landscapes, and died in 1885; and a daughter, who was a painter of fruit and flowers.
[Redgrave's Dictionary of Artists; Catalogue of the Norwich Castle Museum; Wodderspoon's John Crome and his Works; Norfolk Chronicle, 1830 and 1885.]
View painter's work: Alfred Stannard (1800-1889)
Alfred George Stannard
(15 January 1828 - 1885)
Alfred's eldest son became an artist. At the age of 24 he toured Wales, and returned with studies which were shown at many exhibits. In 1854, he moved to London for a year with his wife Anna Maria (Hodgson), moving back to Castle Meadow. He exhibited Swiss views in 1867, suggesting he may have ventured abroad with ofther Norwich School members.
View painter's work: Alfred George Stannard (1828-1885)
ELOISE HARRIET STANNARD
(1829 - 1915
Eloise Harriet Stannard was named one of 14 children of Alfred Stannard (1806-1899), brother of Joseph Stannard (1797-1830), both important landscape painters of the Norwich School, in Norwich, Norfolk , England. She learned from her father, probably together with her cousin Emily Stannard (1803-1885), daughter of Joseph Stannard, and Maria Margitson, a niece of John Berney Ladbrooke. First exhibition of posts in the British Institution (London) go back to the year 1852, followed in 1856, by their first exhibition at the Royal Academy of Arts (London). In these two leading houses some 30 other exhibitions follow her life. Eloise Harriet Stannard works were extremely successful (all supposedly sent to London to exhibitions of her oil paintings were also sold there), first in Norwich, later regularly in London. After her mother's death in 1873, she took over the family numerous commitments and was unable to repeat her previous productivity and quality. It is from the late years, especially smaller sizes and more a study arresting work, where they continuously worked in the studio into old age.
Eloise Harriet Stannard
Still life in oil on canvas, especially fruits (often than flowers), which presented in baskets and bowls on a restrained set stone slab resting in bright colors and accented with leaves and foliage in front of mostly monochrome background. Small animals (insects, beetles, snails) supplemented occasionally, especially in summer and autumn arrangements in restrained manner. Winter scenes, birds or venison as the main subject. Berries and small baskets, however, are typical of her later work.
The sometimes large-format works from the early years 1850-1870, protrude considerably in quality from the oeuvre out. The inspiration of the style-defining works by de Heem (particularly garlands and bouquets at Cornelis de Heem) and by van Huysum (especially the work of the late Jan van Huysum ) is clearly visible. To 1865, Stannard separated from the color of the early Dutch and typical for their works in themselves bright colors attracted into her paintings. The subjects are now set in an outer space-context, the display in direct sunlight produces a luminosity, which will remain characteristic of her paintings. Stannard reinforces the impression of color by several superimposed layers of different colors applied, so that underlying layers appear partially through and give a special color effect. The compositions are increasingly contrasting colors in the immediate neighborhood. Texture effects of the fruit will never be reached by relief-like paint. The brushwork is very fine and barely visible, the inking appears in raking light view often unusually smooth. A sizable part of the works is taken as medallion round or oval. These are often still in the original ornate frame; P. Townsend, a local art dealer which already worked her father, provided.
Typically there is the legible, set in handwritten letters curved signature of oil paintings right or bottom left as EH Stannard or EHS, usually complemented by a four-digit year. The H. often appears as an M. Not infrequently, the signature is set diagonally.
The pleasing still life works are are well known for their outstanding quality, the colors and their penchant for detailed realistic representation, especially the surfaces of fruits and leaves a popular motif of commercial reproductions on posters, calendars, postcards, etc., thus a wide audience. The few times a year mainly in London and East Anglia from private ownership to auctions reaching works are in international market attention and often reach collector's prices. Eloise Harriet Stannard is today, as it was in her lifetime, the most outstanding still-life painters of Europe in the 19th century.
View painter's work: Eloise Harriet Stannard (1829-1915)